And so my militant philosophy is this: to make with a brush on canvas is a simple direct delight-to make with the movie is the same.

I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.

The process of art evolving is always one which has fascinated me.

Unless it's done superbly, as in the Japanese film Gate of Hell, color can be a very distracting element.

Take a film of Jacques Tati like Mon Oncle which has something quite new - for me, unique - in it.

In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.

Well rounded forms gives smooth sounds; sharper or angular forms give harder and harsher sounds.